International studio (15.1901/1902(1902))

First International ‘ ‘ Studio ' ’ Exhibition

HE FIRST
“STUDIO”
PART II.

INTERNATIONAL

EXHIBITION.

We have already remarked upon the good quality
of the decorative needlework and other fine-
wrought textiles at this exhibition. Especially in
the matter of design, the improvement which has
taken place in modern embroideries is very
significant. In the sheer technique of the needle-
crafts, women have always excelled ; but in design
they have flagged periodically, and been content
to diffuse in laborious detail the steady energy, the
enthusiastic patience, that characterise so much of
their work in art. Prodigality of effort in the

PORTION OF “LA DAMNATION DE FAUST”

(Salon, iSSS)

process itself has often starved the intellectual and
imaginative side of decoration.

The entrance of women into the ranks of
designers for textiles of the larger kind cannot fail
to re-act well upon their needlework, the planning
of carpets and curtains giving the embroiderer a
greater breadth and individuality of treatment and
a keener sense of proportion, composition, and
decorative line. Exigencies of space rather cur-
tailed the exhibits which might have run in this
direction, but some half-dozen remarkably good
portieres were included. Two of these were by
Beatrice M. Venables : one a strong and simple
applique decoration on deep-red linen; the other a
more ambitious composition representing a field of
corn, with birds flying over
it, cleverly worked out in
corn-yellows and greens on
a sky-blue ground, with a
bright glint of poppies at
the base. The necessaiy
flatness and restraint of
treatment were very well
observed. An admirable
piece of decoration was the
portiere by George Duxbury
and Agnes Smith. Here
the composition centred in
a small panel of rich colour,
high up in the body of the
curtain, bearing a conven-
tional figure of a ship; the
subdued treatment of the
ornament surrounding and
leading up to this, and
carried out in soft dark
blues and greens, secured
an altogether harmonious
and pleasing scheme of
colour. The workmanship
fully sustained the quality
of the design. Near it was
an interesting and effective
convention of a growing
tree with fruit, by C. Oxen-
ford, carried out in silk and
velvet applique on grey
serge ; the ruddy fruit
making the chief points of
light among the sober
foliage. Two woven por-
tieres, of heavier quality,
were notably successful in
technique. One by V.

245

BY FANTIN LATOUR